MEIEA Summit 2025

Jessica Muñiz-Collado, Moderator
1:15 - AI Music Generators in Music Industry Curriculum
1:45 - Practical Music Theory for the Music Industry Student

AI Music Generators in Music Industry Curriculum
  Benom Plumb, University of the Pacific
Benom Plumb gives a presentation about incorporating AI music generators, particularly Suno and Udio, into Music Industry Studies curriculum. The research focuses on the results of an assignment titled, “Create an AI Song!”, from Plumb’s MMGT 11: Introduction to Music Business course at University of the Pacific from the Fall 2024 semester. Of particular interest are the resulting positives and negatives, student conclusions, and creative outputs of AI music generators, Suno and Udio. The sample size of the research information is derived from a class of 50+ students that includes music industry majors and non-music majors. The research conclusions are unique because of this mix of creative and non-creative students (due to the course being offered as a General Education requirement at Pacific). Plumb offers insight for curriculum development in the fast-paced world of artificial intelligence as it relates to student learning outcomes—and connecting those experiences to current event impacts and the legal challenges brought by major music companies against Suno and Udio.

Practical Music Theory for the Music Industry Student
  Charles Brooks, University of North Alabama
After 25 years of teaching music to middle school students, high school students, college students, and some industry professionals, I find that almost all people who take up music have issues understanding music theory as a form of study. Music is a language and learning how to use a new language is very difficult. Many music industry students wind up leaving the industry and music altogether because of the perception that understanding music theory is mysterious and daunting, far too daunting to unravel. The fact is this is just not true. When stripped down to its bare essentials, the building blocks of music can be very straightforward and easy to understand. So, that’s what my book: A Practical Guide To Understanding Music Theory is dedicated to accomplishing. It gives the music industry student music theory in a way that’s accessible and straight-forward. Many music industry and entertainment students are quite good storytellers and stumble upon a hit from time to time. However, if the independent contractor is to be consistent as a new artist they need as many tools at their disposal that they can obtain to set themselves apart from others in the industry that have similar skill sets. My methodology follows a spiral-learning model in order to introduce theory to the reader in a way that is flexible enough to slowly add more complex ideas as the student progresses. Starting with a basic, easy-to-understand concept and slowly adding to that, one piece of information at a time.

             Joe Steinhardt, Moderator
2:30 - This Law Was Made For You and Me: Copyright and Resistance in American Popular Music
3:00 - “It’s a Melody Played in a Penny Arcade”: Copyright and Compensation in the Music Industry

This Law Was Made For You and Me: Copyright and Resistance in American Popular Music
  Jason Lee Guthrie, Clayton State University
Popular music and popular musicians have a long history of using their art to influence public opinion and to resist political oppression in the United States. Yet copyright, the legal protection for creative work, is often perceived to be a tool used by the music and entertainment industries to exert control over individual creators, rather than as a mechanism of resistance. While the history of American popular culture is certainly replete with examples of content creators, and especially songwriters, being contractually taken advantage of, there are also important examples of musicians skillfully using copyright to maintain control over their songs and to resist appropriation by political campaigns. Beginning with an exploration of the career of Woody Guthrie, this presentation will highlight American artists who have used their work to express political opinions and have used copyright to prevent their work from being coopted by opposing political narratives. Other artists that may be discussed include Ella Fitzgerald, Phil Walden, Al Green, Dolly Parton, Tom Petty, Prince, David Byrne, K’naan, and Taylor Swift.

“It’s a Melody Played in a Penny Arcade”: Copyright and Compensation in the Music Industry
  Greg Smith, PhD Candidate, University of South Carolina
  Armen Shaomian, University of South Carolina
This study examines the alignment of current compensation models for musical works with the original intent of U.S. copyright law, specifically focusing on the fairness and equity of these models in today’s streaming and digital economy. By analyzing the various stakeholders involved, including composers, songwriters, publishers, artists, musicians, producers, and record labels, this research aims to determine whether the current revenue distribution models adequately compensate creators for their contributions.
To achieve this goal, the study will be divided into three parts:

• Creator Compensation: A deep dive into the compensation models for composers, songwriters, and publishers, assessing the impact of streaming and digital platforms on their revenue streams. This part will particularly examine the historical context of statutory mechanical royalties, which have remained largely unchanged despite significant technological advancements and inflationary pressures. For instance, the statutory mechanical royalty rate for musical works, which was first set at 2 cents per copy in the 1909 Copyright Act, has failed to keep pace with inflation. The current rate for 2024 is 12.4 cents. If this rate had been adjusted for inflation since its inception, it would now be significantly higher, at around 70 cents per copy.
• Performer Compensation: An examination of the compensation models for artists, musicians, producers, and record labels, considering the challenges and opportunities presented by the digital age. This part will delve into the complex interplay between traditional record deals, streaming royalties, and touring revenue, assessing how these factors impact the overall compensation of performers.
• Platform Revenue Structure: A dissection of the revenue structures of major streaming platforms, analyzing how royalties are distributed to creators and the implications for fair compensation. This part will explore the opaque nature of platform revenue models and the potential for negotiating more favorable terms for creators.

By understanding the historical context of copyright law and the evolving landscape of the music industry, this research seeks to shed light on the potential disparities in compensation and propose recommendations for a more equitable system that benefits all stakeholders.

               Katy Richards, Moderator
5:00- “XQ” – Towards a Dynamic Interplay of Intelligence Within the Experience of Learning
5:30 - Immersion in Entertainment: Is it Worth the Effort?

“XQ” – Towards a Dynamic Interplay of Intelligence Within the Experience of Learning
  Joe Miglio, Berklee College of Music
My objective is to share my (ongoing) study of experiential learning as a powerful tool for multiple levels of meaning making and demonstration—where knowledge is gained through direct experience, reflection, and the synthesis of active participation—and how this model (XQ) creates subject matter and self (as subject) knowledge. The goal of this study is to investigate, analyze, and assess instructional design and delivery being utilized as the educational ‘event’ and as ‘experience’ leading to discovery and ‘explanation’ Emphasizing the aesthetic of artistry—the interaction activities within the learning can be defined as ‘practice’ and the demonstrable integration of the teaching learning collaboration (“TLC”) in its outcomes as ‘performance.’ My hypothesis is that this serves dual purposes in the way learning as intelligence (“-Q”) is both a visible demonstration of content and learned skills (externalized demonstration defined as “IQ”) and a less visible journey of self-discovery (internalized discernment as “EQ”), creating a bridge between content-action and context-awareness for all members of the “TLC”—both faculty and student as lived and learned ‘experiencers.’ The synergy between external demonstration and internal discovery is what makes experiential learning so powerful. These two dimensions—doing and discovering—feed into each other. The activity itself, whether it’s a simulation, a collaborative project, or hands-on practice, serves as a mirror reflecting back to the learner not only what they know but who they are in the learning process. This dynamic interplay nurtures both skill acquisition and self-awareness, laying the groundwork for a form of learning that is not only “skill-deep” but “skin-deep” as self-transformative.

Immersion in Entertainment: Is it Worth the Effort?
  Ray Eddy, University of Central Florida
Immersion is understood to be a heightened state of focus, causing everything outside of the movie, concert, video game, sporting event, or theme park to “disappear” from the user’s consciousness. Designers seem to believe that many activities need to promote themselves as “the most immersive experience ever.” However, because immersion often requires a certain amount of effort from the consumer, this article challenges the assumption that immersion is every patron’s goal in an activity. Immersion can be enjoyable, but there are certainly circumstances where individuals simply want to relax and spend time with friends without the imposition of technological interactions or “staying in character.” 
Starting with a definition of immersion that brings it into the modern era and modifies the ways it should be measured, this research article goes on to examine immersion from various perspectives, such as the quality of the immersive experience, the effort the user must expend, whether immersion is optional or forced, and crucially, how much the user actually enjoys the experience of being immersed. The paper concludes with recommendations for entertainment designers on how to best incorporate immersive options into their experiences, maximizing both consumer attraction and potential repeat visitation.

              Greg Smith, Moderator
1:30 - Compilation Conundrum: The Federal Courts’ Split Views On What Constitutes a “Work” When Calculating Copyright Infringement Damages
2:00 - Collecting International Mechanical Royalties

Compilation Conundrum: The Federal Courts’ Split Views On What Constitutes a “Work” When Calculating Copyright Infringement Damages
  Stan Soocher, University of Colorado Denver
Section 504(c)(1) of the U.S. Copyright Act states that a “copyright owner may elect” to receive “an award of statutory damages for all infringements involved in the action, with respect to any one work.” In determining the amount of a statutory award—which is based on the number of works infringed, rather than the number of times those works were infringed—“all parts of a compilation or derivative work constitute one work,” the statute adds.
Most federal appeals courts that have addressed the issue of what qualifies as a “compilation” or a single creative work have applied an “independent economic value” analysis that looks at the market worth of the single creation as of the time when an infringement occurred. However, the Fifth U.S. Circuit Court of Appeals—which encompasses the music-history-rich jurisdictions of Louisiana, Mississippi and Texas—has recently rejected the “independent economic value” test in determining which individual sound recordings are §504(c)(1) “works” eligible for their own statutory awards and which are part of a compilation. The Fifth Circuit’s break with the judicial majority view aligns it with the minority position of the Second Circuit, which includes New York. This MEIEA presentation will delve into the federal appeals courts’ split on what amounts to a “work” for purposes of assessing copyright infringement damages, as well as into the enormous recovery implications in copyright cases involving the music industry and creative content owners.

Collecting International Mechanical Royalties
  Serona Elton, Frost School of Music at the University of Miami
Mechanical royalties are generated when a musical work (also known as a musical composition or song) is performed and recorded, and the resulting sound recording is reproduced and distributed as a physical record (e.g., vinyl, CD), a digital download, or an interactive stream. The term “mechanical” dates to the late 1890s and early 1900s when musical works were reproduced and distributed in the first mechanical devices such as piano rolls and music boxes and is still used when describing the digital files that most consumers access in order to enjoy music today. The U.S. Copyright Act of 1909 established both a copyright owner’s exclusive right to control mechanical uses of their music, and a limitation on the exclusive right referred to as a compulsory license. The Music Modernization Act (MMA) of 2018 amended the law with respect to the compulsory license, modernizing it to meet the needs of today. One key component of the MMA was the creation of a mechanical licensing collective, now known as The Mechanical Licensing Collective (The MLC). Since it began operating in 2021, The MLC has collected and distributed over $2.5 billion dollars in digital mechanical royalties. These royalties have been collected from the U.S. operations of digital service providers operating under the newly modified blanket compulsory license. The MLC is prohibited by law from collecting digital mechanical royalties generated outside of the U.S., so its members (music publishers, publishing administrators, and self-administered songwriters, composers, and lyricists) must pursue alternate means of collecting their international mechanical royalties. This paper will explore what options exist for U.S.-based rightsholders when it comes to collecting this revenue, including the pros and cons of each.

                 Morgan Bryant, Moderator
2:45 - Contributing Elements in the Decline of a Music City or Music Business Cluster
3:15 - The Economic Impact of Music Zones on Local Businesses in the U.S.: A Venue Concentration, Tourism, Economic, and Business Index Approach

Contributing Elements in the Decline of a Music City or Music Business Cluster
  Dan Galen Hodges, Jr., University of Colorado Denver
  Jonas Bjälesjö, University ot Inland Norway
The phenomenon of Business Clustering where businesses locate in a certain geographical area to achieve competitive advantages is displayed in many industries around the world including the sectors of manufacturing and technology. The creative industries also have shown a tendency to congregate in geographical areas to take part in the competitive advantages of their proximity to a hub business, which could be major record labels or prominent festivals. The hubs create opportunities for many facets of the music industry to locate their businesses in the same area to take advantage of the opportunities that the label or festival provides. The benefits gained by cluster membership are not only experienced by the members but also in the local community as a whole. These benefits gained by clustering are not a static phenomenon, however. Business clusters have been shown to have life cycles and they slowly evolve from one life cycle to the other over time until eventually, the cluster enters the decline stage where it loses the competitive advantages it previously embodied. This study discusses creative business clusters as they enter the decline stage by looking at the music clusters of Hultsfred, Sweden, and Nashville, Tennessee. Both display the characteristics of entering the decline stage of their life cycle. Specifically examined are the factors that contributed to each music city entering the final stage of its life cycle with the purpose of providing music business clusters with a view of what cluster elements to protect in order to keep the cluster’s core competencies and competitive advantages intact.

The Economic Impact of Music Zones on Local Businesses in the U.S.: A Venue Concentration, Tourism, Economic, and Business Index Approach
  Stan Renard, The University of Oklahoma
  Storm Gloor, University of Colorado Denver
This study investigates the impact of 108 music zones on 4,190 local businesses across the United States, using agglomeration theory to explain how the concentration of independent music venues creates a vibrant ecosystem that attracts tourists and locals, thereby boosting nearby businesses. Utilizing a concentration, tourism, economic, and business impact index approach, the study ranks the nation’s most significant live music zones by cities and analyzes their economic contributions. The methodology incorporates data from 1,423 independent music venues forming 108 music zones, each with at least five venues within walking distance, and builds on preexisting research by the authors. The findings highlight the symbiotic relationship between music venues and nearby businesses, revealing how live music hubs in cities such as Nashville, New Orleans, Oklahoma City, and Austin drive economic growth and community identity. This relationship is further supported by aggregated calculations based on the National Independent Venue Association Music Venue Economic Impact Calculator developed by Dr. Michael Seman. The results provide valuable insights for policymakers, tourism boards, and the music industry to support and promote these vibrant cultural centers.

               Yvan Kelly, Moderator
9:00 - From Creators to Engineers: Understanding the Motivations of Audio Production Students in Music Education

From Creators to Engineers: Understanding the Motivations of Audio Production Students in Music Education
  William Thompson, The University of Southern Mississippi
  Paul Linden, The University of Southern Mississippi
Academic programs in audio production offer graduates a diverse range of career opportunities, including live sound engineering, recording, mastering, game audio design, and sound design. However, the motivations driving students to pursue these degrees often diverge from the traditional professional pathways associated with audio production education. Many students in these programs self-identify as music creators, emphasizing artistic pursuits over technical production. Despite this, they frequently choose technical audio production degrees rather than artistic disciplines focusing on performance or composition.
This study aims to explore the motivations behind students’ academic and career choices in music-related fields, specifically investigating the potential misalignment between students’ creative aspirations and the technical focus of audio production curricula. Through surveys of undergraduate audio production students, the research examines their self-identification, career goals, and preferences in musical styles and creative roles. The findings will illuminate the barriers and perceptions influencing these decisions and provide insights into the evolving landscape of music education. Ultimately, this research seeks to inform curriculum design, fostering better alignment with students’ aspirations and the demands of the contemporary music industry.

Dan Galen Hodges, Jr., Moderator
2:00 - Steve Albini: A Study of Fierce Independence in Underground Music Entrepreneurship Through One of His Final Interviews
2:30 - Chibsons and Chenders: Counterfeit Guitars from China

Steve Albini: A Study of Fierce Independence in Underground Music Entrepreneurship Through One of His Final Interviews
  Justin Sinkovich, Columbia College Chicago
  Philippe Ravanas, Columbia College Chicago
On May 7^th, 2024, legendary audio engineer, musician, and provocateur Steve Albini went home for the night during the sessions for an album he was engineering at his studio, Electrical Audio, and died of a heart attack. Albini was best known for his dedication to analog recording, producing albums like Nirvana, The Pixies, and PJ Harvey, his Chicago-based studio complex, and as the vocalist and guitarist for the Big Black and Shellac. He is also widely known for dismantling the mainstream music business in the media with his eloquent and often polarizing disdain.
Two months before Albini’s passing, Philippe Ravanas and Justin Sinkovich conducted an interview researching the creative, economic, and sociological factors shaping one of alternative music’s most notable entrepreneurs. The interview explored how an innovator like Albini succeeded by forging his path while maintaining strict autonomy and artistic vision. The series of scheduled interviews with Albini was unexpectedly concluded after the first. Still, Ravanas and Sinkovich interviewed Electrical Audio technician and engineer Greg Norman to discuss Albini’s death and the plans for the studio. Sinkovich also started working with Albini decades prior in the studio and as the Director of Digital Distribution and Promotion at Touch and Go Records, the label representing Big Black and Shellac.
The research is framed by several theories, including Bronfenbrenner’s ecological systems model, social capital theory, and entrepreneurship theory. Through the lens of the theoretical framework, the session will provide insight into Albini’s value system and business acumen that shaped his success and notoriety. The session will discuss the history of Albini’s artistic, recording, and business practices compared to industry standards. It will also reveal how Electrical Audio plans to move forward in a rapidly shifting industry without its fearless leader, Steve Albini.

Chibsons and Chenders: Counterfeit Guitars from China
  Christopher Reali, Ramapo College of New Jersey
During spring 2024, I visited a friend’s music store. As I was about to leave he said, “Have I ever showed you the guitars from China?” I replied, “No, I don’t think so.” Before opening his office door, he casually remarked, “Once you see these, there’s no going back.” He showed me several guitars, including a stunning “Gibson” Les Paul, Jimmy Page model, and said it was actually a “Chibson,” a Chinese-made counterfeit. As a guitar player, I was initially surprised. As a researcher, I was very curious. Over the next few weeks, I fell down numerous rabbit holes in an effort to learn more about Chibson’s. In brief, the name Chibson typically refers to all Chinese-made counterfeit guitars, regardless of which company is being copied. So there are Chenders, Chibanez, Chickenbaker, Chartin, Chaylor, and others all made to look, feel, and sound like guitars manufactured by Fender, Ibanez, Rickenbacker, Martin, or Taylor, respectively. These instruments are sold to customers across the world primarily via direct message links to hidden pages on websites or openly on sites such as Ali Express, Temu, DHGate, and eBay. Much of the marketing, promotion, and appreciation for Chibson’s occurs on private Face Book group pages.
 On November 23, 2024, U.S. Customs and Border Protection (CBP) and Gibson announced the seizure of over 3,000 counterfeit electric guitars. According to the authorities, this is the “largest seizure of fake musical instruments” on record, with the guitars’ estimated value exceeding $18 million if they were authentic. The Organization for Economic Cooperation and Development recently valued the global scope of physical counterfeiting for all products at $509 billion dollars. This paper presents preliminary observations and findings about the buying habits of people who purchase “Chibsons” and the worldwide networks related to the sale of counterfeit guitars. This research draws upon survey responses from over one hundred Chibson owners, interviews conducted with musicians and guitar store owners, conversations with representatives from the U.S. Department of Commerce, and correspondence with guitar manufacturers.

                Paul Linden, Moderator
3:15 - Improving Student Work Readiness and Graduate Outcomes through Strategic Training Partnerships
3:45 - Experiential Learning through Academic Artist Residency: A Case Study

Improving Student Work Readiness and Graduate Outcomes through Strategic Training Partnerships
  Katy Richards, Australian College of the Arts
To prepare students for careers in their chosen industries, educational institutions often partner with industry bodies to provide internships and guest speakers, offering valuable practical experience and career insights. In this presentation, however, I will explore a different type of partnership with an industry education provider designed to enhance student work readiness and graduate outcomes through targeted training and certifications. Launching in 2025, the Australian College of the Arts (Collarts) will begin a strategic partnership with the Arts Centre Melbourne (ACM) to provide training and qualifications that complement Collarts’ academic programs. ACM is a government-owned series of indoor and outdoor venues and a Registered Training Organization specializing in Creative Arts training. While their training has historically been for their venue staff, this partnership enables Collarts students to access ACM’s industry-specific certifications, such as:

• Work Health and Safety in Live Production
• Work Safely at Heights
• Arena Rigging
• Operate Flying Systems
• Develop and Implement Own Self-Care Plan for the Creative Industries

This initiative extends across various Collarts courses, including Stage Management, Music Production, Audio Engineering, Circus Arts, Performing Arts, and Event Management. Each course can select the most appropriate additional certifications for their students. These certifications are crucial for safety compliance and mandatory to work on a live production. Students will graduate with their diploma or degree from Collarts, along with the skill set and certifications required for immediate employment. By integrating these qualifications into Collarts’ curriculum, the partnership is anticipated to significantly enhance students’ work readiness and graduate outcomes by providing comprehensive skill sets and certifications. These qualifications offer clear pathways to employment, ensuring students are equipped for immediate and meaningful roles in live entertainment after they graduate. This presentation will explore the process of building a partnership with an external provider while ensuring cost efficiency. I will also demonstrate examples of embedding additional qualifications into the curriculum without compromising the quality of education.

Experiential Learning through Academic Artist Residency: A Case Study
  Joe Steinhardt, Drexel University
  Ryan Moys, Drexel University
The purpose of this paper is to discuss the value and potential for Artists Residency programs in music industry education through a case study on work we did with Keith Secola at Drexel University in 2023 and 2024. Keith Secola is Anishinabe (Ojibwa), originally from the Mesabi Iron Range country of northern Minnesota. Secola is an influential and celebrated artist, whose best known song, NDN Kars (Indian cars), has been the number-one requested song on tribal radio since 1992. In 2011, he joined the ranks of Jimmy Hendrix, Hank Williams, Crystal Gale, and Richie Valens and was inducted into the Native Music Hall of Fame.
 Starting in 2023, we have been working with Keith to record a rock opera called Seeds in residency at the Music Industry Program at Drexel University. Recording the album at Drexel allowed Keith to bring his experience and knowledge to our program and allowed us to work toward the repatriation of our resources to Indigenous artists. While Keith has been working on the rock opera for nearly a decade, and has performed part of it live, including at The Kennedy Center and The Smithsonian, we utilized a recording and production technique that aims to incorporate the recording environment into the fabric of the recording itself. Thus, this recording project not only engaged student engineers and producers, but offered them a look at and chance to be directly involved in the writing and performance process of the work. The finished album will also engage students in the marketing and label elements. Thus, students leave the experience not only with hands on practice and knowledge, but with earned industry credits. The full learning outcomes from the experience are explicated, and describe the value of this type of learning and education to the student and professional experience.